Art in the West is an annual juried exhibition and silent auction featuring traditional and contemporary art that celebrates the landscapes, wildlife, people, cultures and history of the High Desert—a region that stretches from the eastern slope of the Cascades and the Sierra to the Wyoming Basin and Colorado Plateau.

Featuring more than 120 artworks, the entire collection will be on exhibit at the High Desert Museum beginning Saturday, July 18. The collection will be available for viewing through our online auction page beginning July 13. The auction goes live at 9:00 am July 18.

Proceeds from the Art in the West auction helps support the participating artists and the Museum’s exhibitions and programs, bringing science, art and history education to lifelong learners through the region.

Saturday, August 8, 2026
2-4 pm

Center for Contemporary Printmaking
Mathews Park, 299 West Ave, Norwalk, Connecticut

It is our great pleasure, together with the Center for Contemporary Printmaking, to invite you to celebrate the launch of the online catalogue raisonné, "The Editions of Robert Kipniss, 1967-2023," on Saturday, August 8, from 2-4 pm. The artist, 95, plans to be present.

Kipniss worked at the Center for Contemporary Printmaking from 2004 to 2013 with master printer Anthony Kirk and then with Anthony Kirk Editions in North Salem, New York, until 2023, when the artist retired.

The updated catalogue raisonné will provide essential information on Kipniss’s editions during those years and flesh out gaps and additions to the previously published catalogues raisonnés by Lunde (1980), Lundgren (1981), and Grace (2004), providing a comprehensive and definitive view of his important contributions to printmaking.

Please RSVP here: https://forms.gle/xLGh7eokHb9JXTh26

This focused exhibition celebrates the PrintLab Artist Residency (2025–26) at Brandywine Workshop and Archives (BWA) in Philadelphia. An expansion of BWA’s Visiting Artist Residency Program, PrintLab enabled eight interdisciplinary artists to push the boundaries of printmaking. Working with collaborative printers Justine Ditto and Alexis Nutini, artists experimented with both traditional printmaking techniques and emerging technologies, including photolithography, woodcut, CNC routing, laser cutting, phototransfer, and animation. With rigorous attention to scale, color, materials, and layering, they explored themes of ancestry and memory, identity and mythology, diaspora and survival. By placing finished prints alongside working materials, Proof Testing illuminates how PrintLab served as an incubator for experimentation and innovation.

Proof Testing is organized in partnership with Brandywine Workshop and Archives. A concurrent exhibition, PrintLab: Material Futures, is on view at BWA June 18–October 26, 2026.

Caira Art Editions publishes prints in all media with a growing roster of Boston-area artists and printers. Caira’s aim in publishing is to support the artist in their exploration of a new material, while providing a new market. Caira also partners with mission-aligned organizations to publish benefit editions. Seeing Boston’s artists and institutions garner recognition nationally and internationally, Caira encourages collectors to grow with them as active contributors to the artistic community.

"In 2024, Lucy Rosenburgh found herself making a connection between two people, as she has countless times over a 20-year career in the arts. On this occasion, however, the introduction she made between artist Crystalle Lacouture and fine art printer Bryan Smith, sparked a realization for Rosenburgh that there was an ongoing role for her to play as a catalyst and supporter of printmaking collaborations. From this Caira Art Editions was born.

In the past two years, as a print publisher, Caira Art Editions has forged a path for artists to explore traditional and experimental processes and assisted in the creation of poetic original works. In fostering individual collaborations between a small group of artists and printmakers in the Boston area, Rosenburgh has also mindfully given rise to new relationships and opportunities within her community." - krakowwitkingallery.com

Why Prints? Prints present the artist with new material possibilities, while generating collaboration and connection through their making. Prints prioritize the multiple over the singular and in doing so, open wide a door to art. Prints have been used to transmit, to activate, and to ignite movements. Once out in the world, they prompt others to ask questions, share thoughts, and collect - all of which Caira Art Editions seeks to foster.

During the German Romantic movement, active from about 1770 to 1850, many artists hoped to gain a deeper understanding of universal questions. They experienced the French Revolution, France’s invasion of Germany during the Napoleonic Wars (1803–1815), and a shift from the Enlightenment’s emphasis on reason to more interest in emotion and feeling. Decades of changing borders and values led artists to reconsider their national identity and sense of self, as well as their relationship to nature and the divine.

Featuring 84 drawings, prints, and paintings that highlight the Milwaukee Art Museum’s German Romantic collection—one of the strongest in the country—the exhibition examines how artists attempted to comprehend and shape their world. They looked to the sublime beauty of the landscape, religious devotion, and travel to help them respond to the urgent issues of their time. Ultimately, even when it did not uncover answers, the process of seeking offered its own reward. The Romantics’ approach offers an example we can follow today as we live through our own unpredictable moment in history.

The devastating stock market crash of 1929 triggered the Great Depression, the worst economic crisis in the history of the United States. At the height of the Depression in 1933, nearly 13 million people—roughly 25 percent of the workforce—were unemployed. In response, President Franklin D. Roosevelt created an economic relief program known as the New Deal to offer employment to struggling Americans. The Works Progress Administration (WPA), a federally funded agency, hired some ten thousand artists to produce work for public buildings and traveling exhibitions as part of the Federal Art Project (FAP).

From coast to coast, the WPA supported artists who created paintings, drawings, prints, photographs, and murals for the American public. These artists drew on their everyday experiences as they depicted their own communities in a wide range of locations from urban centers to rural outposts. The WPA employed such established figures as John Steuart Curry as well as newcomers like Jacob Lawrence, providing materials, community, and income at a critical moment in their careers. After the WPA was closed in 1943, works of art produced under federal sponsorship were allocated to institutions across the country, including what is today the Blanton Museum of Art. The museum’s allotment serves as the basis for Art in Every Corner and is displayed in the context of pieces made by WPA artists before or after their periods of federal employment, encouraging an exploration and celebration of the dynamic impact of the WPA’s programs on artists who represented every corner of American life during the 1930s and ’40s.

We are pleased to announce that a podcast created by the New Books Network on our recent publication on the European print trade is now available online. Please see the link below.

The Burgeoning European Print Trade is the culmination of years of archival research into the distribution of prints from Antwerp between ca. 1550 and 1640 that illuminates the activity of numerous Antwerp print publishers, including but not limited to: Hieronymus Cock, Volcxken Diericx, the Galles, and the Wierixes. Moreover, the distribution of hundreds of thousands of prints from Antwerp – both plain and hand-colored – is discussed not only from the perspective of the print publishers, but also in terms of the markets where their work was in demand, and the involvement of the Plantin-Moretus family of booksellers, who organized many essential practical matters in support of this trade. Throughout, significant new information on how these prints were ordered, the quantities in which they were sold, and, unprecedented, the prices each of these print sellers asked for their own wares is documented in detail.

Thanks to the thoughtful layout and high-quality production of this publication for the Harvey Miller series, it is a pleasure to page through and enjoy as an attractive publication in of itself (see here for more information).

If you have any questions concerning our book, please feel free to contact us.

Sincerely, Karen Bowen and Dirk Imhof
(bowenimhof@gmail.com)

Manneken Press is pleased to announce the release of a trio of limited edition prints—its first project with New York–based artist Glenn Goldberg. The prints, titled "Empyrean (1)", "Empyrean (2)", and "Empyrean (3)", are monochromatic etchings with aquatint that employ delicate brushwork, intricate stippling, and layered tonal fields to create images that feel both graphic and quietly meditative. The title Empyrean refers to the highest heaven or celestial realm in ancient cosmologies, suggesting a space of light, elevation, and contemplation.
The Empyrean prints feature recurring motifs of birds, floral forms, and abstracted natural elements, organized around central anchors and rendered in rich tones of black and gray. Goldberg has described his work as driven by an interest in structure, hierarchies, and moods found in nature, even though his images are invented rather than painted directly from observation. His process is slow, layered, and meticulous, emphasizing patience, attention, and a kind of “quiet intensity” in the act of creating.
“I’m interested in making images that are both orderly and fragile,” Goldberg notes. “The birds, plants, and marks are less about depicting nature and more about creating a place where attention can slow down and quiet things can be felt.”
The Empyrean prints are etchings with aquatint, hand-printed in black ink on 27 x 20 inch Somerset Velvet Soft White paper in limited editions of twenty impressions. The image size is 18 x 12 inches. The prints are published by and available from Manneken Press.
The Empyrean prints will have their public debut in Manneken Press’s booth (#A13) at the IFPDA Print Fair, April 9–12, 2026, at the Park Avenue Armory in New York City.

The fiftieth annual meeting of the American Historical Print Collectors Society will take place in New Bedford, Massachusetts from June 9th through June 11th, 2026. The program will include a day trip to Nantucket Island and an optional session on June 8th at the Heritage Museum in Sandwich, where the AHPCS held its first annual meeting in 1975. The first two days will be spent at the New Bedford Whaling Museum exploring the museum’s rich collections documenting the region’s culture and history. A series of lectures will include talks on whaling and maritime prints, print-related scrimshaw, prints illustrating Melville’s Moby Dick, and the etchings by local artists R. Swain Gifford and LeRoy Yale. Curator-led tours will focus on the prints on view in the museum’s galleries and provide access to additional prints in the museum’s Research Room. Walking tours will visit historic sites in the city including the Seamen’s Bethel, the Mariners’ Home, the Customs House, and the New Bedford Public Library. Thursday will feature a trip to Nantucket Island for a curator-led tour of the Nantucket Whaling Museum. Optional afternoon activities include a historic walking tour of the town or a bus tour of historic sites on the island. Registration is now open. For more information go to https://ahpcs.org/newbedford/ Membership in the AHPCS is not required, but If you are not already a member of the AHPCS, please consider joining. Membership fees begin at $50. If you’re unable to come for the full three days, a special one-day rate of $100 includes admission to the New Bedford Whaling Museum, the morning lecture program, and other activities at the Whaling Museum. Meals are available for an extra charge. For more information, contact Nancy Finlay at nfinlay@outlook.com

Paper Trails: Latin American Art in Print (1950-1995) features important portfolios of modern and contemporary Latin American printmaking in the collection of the Blanton Museum of Art. During the 1960s, as interest in Latin American art increased internationally, curated print sets emerged as portable exhibitions showcasing the art of the region and of particular countries to audiences abroad. This show explores prominent portfolios produced in the context of a regional printmaking boom that was bolstered by a network of international biennials, key printmaking studios, and the support of transnational corporations. It will feature print sets produced in influential workshops in Mexico and Puerto Rico, while also featuring print sets from other countries, including Bolivia and Paraguay, whose art is seldom exhibited in the United States.